In our desire to immerse our attendees at the heart of creation, we decided to entrust the artistic direction of the event to the French designer Julien Sappa, founder and director of the agency Regularswitch.
WHAT DOES IT MEAN FOR YOU TO BE IN CHARGE OF THE ARTISTIC DIRECTION OF AN EVENT LIKE THE CREATIVE INDUSTRIES SHOWROOM ?
I have been working with the teams of 656 Editions for several years. We co-created in particular the Plug & Play concept for C!Print, with the desire to support the market changes and to speak more to creatives and opinion leaders by showing them all the potential of new technologies.
The event Print In Progress, The Creative Industries Showroom is the logical consequence of this partnership.
This event is anyway a serious challenge since we must be able to synthesize all the progress made, and translate it into a more contemporary speech. It is a new language to invent, and this is very exciting, especially for a designer like me who remains intimately convinced that nothing is more valuable than this dialogue between the technique and the creative.
WHAT IS YOUR GUIDELINE FOR THIS EVENT?
Our idea was to show that a true knowledge of different techniques can give birth to real and beautiful artistic projects, which would not have been possible to do otherwise. Our artistic direction is the result of this fruitful dialogue that will be at the heart of the show. The gradients and special colors that we imagined for our images are real creative choices to embody this idea of projects impacting each other, but also real technical challenges when it comes to print them. Our typographies have deep meaning. We chose Simplon and Amplitude. Simplon is a technical font, used by engineers to annotate their plans. A standardized font telling this story of technology and, at the same time, echoing to code and data, and to this idea of technological aesthetics. Amplitude is, for its part, a more contemporary editorial typeface, with a special feature: it includes ink traps, these small traps allowing ink to flow when printing and then avoid the letters to clog… A nice story. Set together, these two typefaces tell us how much technology and creativity are mixed. As a designer, I can only be sensitive to this approach.
AS A DESIGNER, HOW DO YOU LOOK AT THE PERSONALIZATION PHENOMENON THAT AFFECTS ALL INDUSTRIES TODAY AND WHICH WILL BE AT THE HEART OF THE EVENT?
Within my agency Regularswitch, we realized empirically that our work had become a work of global design – in other words, it also included space. We do graphic architecture for our customers. We rely on the work of architects and then translate a brand image in volume. In this context, personalization is an incredible opportunity for development, with brands that now want to clarify their image in different ways depending on the places where they are located or the audiences they want to seduce. And this, without losing their soul. In Brazil, we are talking about “tropicalization”. Hermès, for instance, has a unique concept there.
A new page is turned with a whole new story to write, a story where we will have to learn facing the authoritative aspect that the graphic charter had so far, in order to serve a new customer experience.
Regularswitch is a graphic design agency located in Sao Paulo, Paris and Lyon. It produced numerous projects in graphic architecture and retail space communication for brands like Nike, Zilli, Agfa, Santista, etc. It was founded and is directed by Julien Sappa.